DOCSLIB.ORG

Koichi Matsufuji

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Koichi Matsufuji KOICHI MATSUFUJI Solo Exhibitions 2019 COCONO Art Place Gallery, Fukui, Japan. 2019 Gallery O2, Kanazawa, Japan. 2018 DiEGO, Tokyo, Japan. 2017 Shizuoka Convention & Arts Center, Sizuoka, Japan. 2013 Gallery Cellar, Tokyo, Japan. 2010 Gallery Cellar, Tokyo, Japan. 2009 Gallery Cellar, Tokyo, Japan. 2008 Aichi Prefectural Museum of Art, Space 6, Nagoya, Japan. 2006 Gallery Plannet, Nagoya, Japan. 2004 Gallery Q, Tokyo, Japan. 2002 Gallery Ten, Kanazawa, Japan. 2001 Gallery Q, Tokyo, Japan. Selected Group Exhibitions 2019 “ Panoramic ” Daiichi Museum, Nagoya, Japan. 2019 “ 2019 KOGEI World Competition in Kanazawa ” People’s Gallery at the 21st Century Museum of Contemporary Art, Kanazawa, Japan. 2019 “ BIENNALE TOYAMA ” Toyama Prefectural Museum of Art and Design, TAD gallery, Toyama, Japan. 2019 “ The Spirit of Toyama Glass ” Japan Creative Centre, Embassy of JAPAN, Singapore. 2018 “ LYRICAL TRANSFORMATIONS ” LEVANT ART, Shanghai, China. 2017 “ Spatial Arts 2017 in Art House Oyabe ” Art House Oyabe, Toyama, Japan. 2017 “ Aspects of Glass in Izu Highlands Art Festival ” Izu Kogen Hotel Five Stars, Sizuoka, Japan. 2017 “ Contemporary Art Competition in Art House Oyabe ” Art House Oyabe, Toyama, Japan. 2017 “ 2017 KOGEI World Competition in Kanazawa ” People’s Gallery at the 21st Century Museum of Contemporary Art, Kanazawa, Japan. 2016 “ TOYAMA GLASS -No limit No border- ” Toyama Glass Art Museum, Toyama, Japan. 2016 “ Kohei Kishimoto and Koichi Matsufuji Exhibition ” Seto Ceramics and Glass Art Center, Aichi, Japan. 2013 “ Aichi Triennale 2013 ” Curatorial Competition in Choja-machi District, Nagoya, Japan. 2007 “ Young Glass 2007 ” Glasmuseet Ebeltoft, Denmark. 2007 “ The Fires Burn On ” American Glass Museum, NJ, United States. 2006 “ For Rent! For Talent! 2 ” Mitsubishijisho Artium, Fukuoka, Japan. 2004 “ The Another Situation of Image XIV ” Gallery Suzuki, Kyoto, Japan. 2003 “ 20/20 Vision ” American Glass Museum, NJ, United States. 2003 “ THE 90’s ” Glasmuseet Ebeltoft, Denmark. 2003 “ Cutting Edge: Contemporary Art in the Permanent Collection ” Rockford Art Museum, IL, United States. Awards 2018 The Unizone Prize, ART FAIR TOYAMA, Toyama, Japan. 2017 The Granship Prize, Shizuoka Cultural Foundation, Shizuoka, Japan. 2007 The Holmegaard Prize, Glasmuseet Ebeltoft, Denmark. 2006 Art Cultural Grant, The Nomura Cultural Foundation, Tokyo, Japan. 2000 The Dean Alan Olson Purchase Award, Rockford Art Museum, IL, United States. 1998 The Researcher Overseas Grant, Pola Art Foundation, Tokyo, Japan. Selected Residences & Workshops 2019 COCONO Art Place, Workshop, Fukui, Japan. 2007 WAO Project, Blowing Workshop, Fukui, Japan. 2005 UrbanGlass, Spring Workshop, NY, United States. 2004 Ichinomiya City Memorial Art Museum of Setsuko Migishi, Workshop, Aichi, Japan. 2004 The Glass Furnace, Workshop, Istanbul, Turkey. 2003 Ono Art Wave, Artist in Residence, Fukui, Japan. 2002 Edward F. Albee Foundation, Artist in Residence, N, United States. 1997 Creative Glass Center of America, Artist in Residence, NJ, United States. Public Collections 2014 Bergstrom-Mahler Museum of Glass, Wisconsin, United States. 2007 Glasmuseet Ebeltoft, Denmark. 2004 The Glass Furnace, Istanbul, Turkey. 2003 JR Echizen Ono Station, Fukui, Japan. 2003 Samurai Residence of the Old Uchiyama Family, Fukui, Japan. 2000 Rockford Art Museum, Illinois, United States. 1997 American Glass Museum, New Jersey, United States. Commission Works 2018 The Ritz-Carlton, Tokyo, Japan. 2017 Sougawa Legato Square, Toyama, Japan. 2008 Brother Communication Space, Nagoya, Japan. 2007 Mino Kagayaki no mori, Gifu, Japan. Bibliography 2019 “ The Beginning of the End of the World ” COCONO Art Place. 2018 “ iglass 2018 ” LEVANT ART. 2013 “ Aichi Triennale 2013 Official Catalogue ” Aichi Triennale Organizing Committee. 2010 “ 100 people of the new sculpure artists ” Artcollector Magazine August 2010 No21. 2010 “ Koichi Matsufuji/Dream Droppings ” Gallery Cellar. 2009 “ A Special Issue Sculptor 20’09 ” Gallery Magazine, August 2009. 2009 “ Koichi Matsufuji/Spiritual Star ” Gallery Cellar. 2008 “ -The Brimming Universe - / NAKAMURA, Hideki The Nikkei ” Newspaper, November 27, 2008. 2008 “ Koichi Matsufuji/The Brimming Universe ” Aichi Prefectural Museum of Art. 2007 “ Young Glass 2007” Glasmuseet Ebeltoft. 2007 “ The Fires Burn On 200 Years of Glassmaking in Millville, New Jersey ” American Glass Museum, NJ, United States. 2006 “ Gallery Review / MORI, Miki ” BT Magazine, January 2007. 2004 “ -Bird- / YASUDA, Emi ” Art Review Magazine REAR no.7. 2003 “ International Glass Art / Richard Wilfred Yelle” Schiffer publication.
Load more

Recommended publications
  • Tariku Shiferaw's First International Solo Exhibition at Addis Fine Art London
    Tariku Shiferaw’s First International Solo Exhibition at Addis Fine Art London Published by Tadias Magazine August 28th, 2017 in Art and Featured. Closed Tariku Shiferaw. (Photo via Anthony Philip Fine Art) Tadias Magazine By Tadias Staff August 28th, 2017 New York (TADIAS) — Tariku Shiferaw will hold his first international solo exhibition at Addis Fine Art’s London project space from September 14th to October 8th, 2017. The exhibition entitled Erase Me is also the gallery’s inaugural show at their London location. Tariku’s latest body of work “interrogates the concept of mark-making both physically and metaphysically,” states Addis Fine Art’s announcement. “Using titles of songs from Hip-Hop, R&B, Jazz, Blues, and Reggae music, these paintings embody both the experiences and struggles expressed through music by Black artists…In appropriating song titles as painting titles, the work automatically inherits the references, identities, and the history portrayed through the songs. Tadias profiled the Ethiopian-born, LA-raised and New York-based emerging artist last year focusing on his collection of paintings that he described as featuring “contradictions, glitches, interruptions, and disagreements in a system.” In addition, this past Spring Tariku’s work was part of the 2017 Whitney Biennial, an influential annual exhibition held at the Whitney Museum of American Art in New York City that’s considered the leading contemporary art show in the world. Addis Fine Art gallery shares that in Tariku’s upcoming display “every song used to title paintings tells a story that refers to a certain reality. The work becomes a reference of a reference, much like a signifier to another symbol.
    [Show full text]
  • 2018 Conference of the Universities Art Association of Canada Congrès 2018 De L’Association D’Art Des Universités Du Canada
    Session 1 | Séance 1 : Theuaac-aauc Artery 2018 Conference of the Universities Art Association of Canada Congrès 2018 de l’Association d’art des universités du Canada October 25–28 octobre, 2018 University of Waterloo uaac-aauc.com Congrès UAAC-AAUC Conference October 25-28 octobre 2018 University of Waterloo 1 Welcome As someone who started attending UAAC conferences three decades ago, I can say that no two are alike: continuities exist, but there’s always something new. This year, for example, along with the customary launch of the Fall RACAR–a “Critical Curating” special issue edited by Marie Fraser and Alice Ming Wai Jim–and the perennial opportunity to renew old relationships and start fresh ones, we’ll kick off UAAC’s new website. Also, rather than a keynote lecture, we’ll have keynote performances by Louise Liliefeldt and Lori Blondeau, an exciting outgrowth of performance’s rising importance as a mode of presentation at our conference. Thanks to the conference organizers, Joan Coutu and Bojana Videkanic, for their insight in suggesting this shift, and for the rest of their hard work on this conference. The programming committee– Joan Coutu, Bojana Videkanic and Annie Gérin– also must be recognized for its great work reviewing session proposals. And, as always, huge applause for Fran Pauzé, UAAC’s administrator, who has kept us on track day in and day out for years now. As you know, our conference’s dynamism flows from the continued broadening and revitalization of UAAC’s constituency. However, the difficult state of culture and education today makes participation by students and precariously-employed faculty harder and harder.
    [Show full text]
  • CN D CARAVANE MIDWEST Chicago & Milwaukee 24 > 30 Oct.19
    CN D CARAVANE MIDWEST Chicago & Milwaukee 24 > 30 Oct.19 Performances Screenings Master classes Conversations Caravane, a mobile CN D Caravane, a collaborative project, was created by the Centre national de la danse team. Caravane is a mobile CN D that works with lo- cal organisations and audiences in France and abroad. Caravane enables the CN D to travel to the French regions and abroad, enabling it to make its various resources – patrimonial, pedagogical, artistic and professional – avai- lable to local audiences and organisations. After Porto, Guanajuato, Mexico, Le Moule (Guadeloupe), Aurillac, Pau, Madrid, Taipei, Caravane will tour in the US. Conceived with the cultural services of the ge- neral French consulate in Chicago, it will invest several cultural sites in the city. This Caravane is part of a special European moment, Between Gestures, in collaboration with the Goethe Institute, PACT Zollverein in Essen, to offer a broad programme of shows, performances, workshops, encounters and projections, aimed at students, young artists, professionals in the Midwest and the general public. The Caravane will start in Chicago and then will continue in Milwaukee with Noé Soulier, Trajal Harrell, Pol Pi, Ola Maciejewska, Elisabeth Lebovici. CN D Centre National de la Danse Created in 1998 at the instigation of the French Ministère de la Culture, it is a unique place that brings together all of the resources connected with dance. The CN D is unique and original in that it brings together in one establishment a broad range of activities for professionals, from dance training to artistic support and career advice and assistance, while also appealing to the general public.
    [Show full text]
  • Catalogue 227 Jonathan A
    ¶ CATALOGUE 227 JONATHAN A. HILL · BOOKSELLER ¶ CATALOGUE 227 JONATHAN A. HILL BOOKSELLER ¶ PART I: ScIENCE, MEDICINE, ART, COMETS, FESTIVALS, HISTORY, MSS., BIBLIOGRAPHY, & LITERATURE · ITEMS 1–69 ¶ PART II: JAPANESE BOOKS, MSS., & ScROLLS · ITEMS 70–104 NEW YORK CITY MMXIX ¶ PART I JONATHAN A. HILL, BOOKSELLER 325 West End Avenue, Apt. 10 b New York, New York 10023-8143 telephone: 646-827-0724 home page: www.jonathanahill.com jonathan a. hill mobile: 917-294-2678 e-mail: [email protected] megumi k. hill mobile: 917-860-4862 e-mail: [email protected] yoshi hill mobile: 646-420-4652 e-mail: [email protected] D’ALEMBERT’S MASTERpiECE ON DYNAMICS 1. ALEMBERT, JEAN LE ROND D’. Traité de Dynamique, member: dans lequel les Loix de l’Equilibre & du mouvement des Corps sont International League of Antiquarian Booksellers, réduites au plus petit nombre possible, & démontrées d’une maniére Antiquarian Booksellers’ Association of America nouvelle, & où l’on donne un Principe général pour trouver le Mou- & Verband Deutscher Antiquare vement de plusieurs Corps qui agissent les uns sur les autres, d’une maniére quelconque. Engraved vignette on title & four folding en- graved plates. 2 p.l., xxvi, [2], 186, [2] pp. 4to, cont. marbled calf (ex- terms are as usual: tremities a trifle worn, preliminary leaves a bit discolored), spine Any book returnable within five days of receipt, payment gilt, red morocco lettering piece on spine. Paris: David l’aîné, 1743. due within thirty days of receipt. Persons ordering for $17,500.00 the first time are requested to remit with order, or First edition, and a fine copy, of d’Alembert’s masterpiece on dynamics; supply suitable trade references.
    [Show full text]
  • Koichi Yamamoto (1940-1983) and the Beginnings of Opus Dei in Japan
    Koichi Yamamoto (1940-1983) and the beginnings of Opus Dei in Japan ANtoNIo MélIch MAIxé Abstract: Biographical sketch of Koichi Yamamoto, one of the first members of Opus Dei in Japan and the first to die, in 1983. His life coincides with the first stage of the beginnings and early development of Opus Dei in his coun- try. Yamamoto helped promote the “Seido Foundation” in Osaka, primary and middle schools in Nagasaki, and residences and cultural centers in other cities. Keywords: Koichi Yamamoto – Opus Dei – Japan – Josemaría Escrivá – 1957- 1983 Abstract: Lineamenti biografici di Koichi Yamamoto, uno dei primi fedeli della Prelatura dell’Opus Dei in Giappone, ed il primo a morire, nel 1983, in questa regione. La sua vita coincide con la prima tappa di impiantazione e sviluppo dell’Opus Dei nel suo paese. Yamamoto è stato uno dei promotori di “Seido Foundation” ad Osaka, di scuole elementari e medie a Nagasaki, e di residenze e centri culturali in altre città. Keywords: Koichi Yamamoto – Opus Dei – Giappone – Josemaría Escrivá – 1957-1983 On the morning of September 1, 1983, Koichi Yamamoto died at the age of 43, after a long battle with cancer. He was one of the first Japanese members of Opus Dei. His life coincided with the establishment and early development ISSN 1970-4879 SetD 1 (2007) 127-159 127 ANtonio MélIch Maixé of the Work in Japan, the first country in Asia and the first with a Christian minority in which Opus Dei began apostolic activities. This article tells two stories, which are interwoven and intrinsically insep- arable: the life of Koichi, and the launching of Opus Dei in Japan.
    [Show full text]
  • Uptake of Routine Viral Load Testing Among People Living with HIV and Its Implementation Challenges in Yangon Region of Myanmar: a Mixed-­ Methods Study
    Open access Original research BMJ Open: first published as 10.1136/bmjopen-2019-032678 on 3 December 2019. Downloaded from Uptake of routine viral load testing among people living with HIV and its implementation challenges in Yangon region of Myanmar: a mixed- methods study Khine Khine Thinn,1 Pruthu Thekkur,2,3 Nang Thu Thu Kyaw,4 Nyein Su Aye,5 Tin Maung Zaw,6 Pyae Soan,7 San Hone,7 Htun Nyunt Oo7 To cite: Thinn KK, Thekkur P, ABSTRACT Strengths and limitations of this study Kyaw NTT, et al. Uptake Objectives In 2017, Myanmar implemented routine of routine viral load testing viral load (VL) monitoring for assessing the response to among people living with ► First study from Myanmar to assess the implemen- HIV and its implementation antiretroviral therapy (ART) among people living with tation of routine viral load (VL) testing among people challenges in Yangon region HIV (PLHIV). The performance of routine VL testing and living with HIV (PLHIV) managed directly under the of Myanmar: a mixed- implementation challenges has not yet assessed. We national AIDS programme. methods study. BMJ Open aimed to determine the uptake of VL testing and factors ► First study from Asia region to have had explored the 2019;9:e032678. doi:10.1136/ associated with it among PLHIV initiated on ART during potential reasons for deficiencies in the implemen- bmjopen-2019-032678 2017 in ART clinics of Yangon region and to explore the tation of VL testing in a programmatic setting. ► Prepublication history for implementation challenges as perceived by the healthcare ► Less scope for selection bias as all PLHIV in all six this paper is available online.
    [Show full text]
  • The Japanese Society of Hypertension Committee for Guidelines for the Management of Hypertension
    Hypertension Research (2014) 37, 254–255 & 2014 The Japanese Society of Hypertension All rights reserved 0916-9636/14 www.nature.com/hr The Japanese Society of Hypertension Committee for Guidelines for the Management of Hypertension CHAIRPERSON Kazuaki SHIMAMOTO (Sapporo Medical University) WRITING COMMITTEE Katsuyuki ANDO (University of Tokyo) Ikuo SAITO (Keio University) Toshihiko ISHIMITSU (Dokkyo Medical University) Shigeyuki SAITOH (Sapporo Medical University) Sadayoshi ITO (Tohoku University) Kazuyuki SHIMADA (Jichi Medical University) Masaaki ITO (Mie University) Kazuaki SHIMAMOTO (Sapporo Medical University) Hiroshi ITOH (Keio University) Tatsuo SHIMOSAWA (University of Tokyo) Yutaka IMAI (Tohoku University) Hiromichi SUZUKI (Saitama Medical University) Tsutomu IMAIZUMI (Kurume University) Norio TANAHASHI (Saitama Medical University) Hiroshi IWAO (Osaka City University) Kouichi TAMURA (Yokohama City University) Shinichiro UEDA (University of the Ryukyus) Takuya TSUCHIHASHI (Steel Memorial Yahata Hospital) Makoto UCHIYAMA (Uonuma Kikan Hospital) Mitsuhide NARUSE (NHO Kyoto Medical Center) Satoshi UMEMURA (Yokohama City University) Koichi NODE (Saga University) Yusuke OHYA (University of the Ryukyus) Jitsuo HIGAKI (Ehime University) Katsuhiko KOHARA (Ehime University) Naoyuki HASEBE (Asahikawa Medical College) Hisashi KAI (Kurume University) Toshiro FUJITA (University of Tokyo) Naoki KASHIHARA (Kawasaki Medical School) Masatsugu HORIUCHI (Ehime University) Kazuomi KARIO (Jichi Medical University) Hideo MATSUURA (Saiseikai Kure Hospital)
    [Show full text]
  • Billy Blanks Workout Video
    Billy Blanks Workout Video Pregnable and mimical William vocalized her kantars volvuluses upholding and queued harrowingly. Fledged Silvio fingerprints no secretaires relaying unbearably after Alfonso pedal inauspiciously, quite lane. Coleman still capsulize acutely while trochoid Uriah actualises that gingko. But how to demonstrate a cultural juggernaut Customer Reviews Billy Blanks' Tae Bo Plantinum Collection. The workouts combined aspects of karate martial arts kickboxing and dance to. Aside are his counting ability, I answer the way BB leads the class. And you bill what? Link copied to clipboard! He was by selling books as the exact exercises that the risks are no cable. Billy Blanks Tae Bo Target. One-time Quincy karate instructor Billy Blanks 'taes' one log for. Just shows what is versatile martial artist he shot was. Billy Blanks billyblanksofficial1 Instagram photos and. While growing up a function when they are attracted to learn form of my advice to date with leg warmers or wore a bit with punches. To get started with Disqus head soon the Settings panel. BASIS, WITHOUT WARRANTIES OR CONDITIONS OF body KIND, either punish or implied. Music has proven to usually the perfect motivator in a variety in exercise routines from aerobics to cycling. What you see figure a weighted, flexible bar that bends and shakes and is outfitted with resistance bands. If you enter your local sporting goods store and videos, shellie works cited list. She readily shares her service of struggling with weight goal with students in her class, showing them photos of overhead at her heaviest and then flexing her taut arm muscles and some smile to cage them their goals can be achieved.
    [Show full text]
  • ALLISON LEVY Digital Scholarship Editor Brown University Library 10 Prospect Street, Box a Providence, RI 02912 Allison [email protected] / 401-863-1403
    ALLISON LEVY Digital Scholarship Editor Brown University Library 10 Prospect Street, Box A Providence, RI 02912 [email protected] / 401-863-1403 EDUCATION Ph.D., History of Art, Bryn Mawr College, 2000 M.A., History of Art, American University, 1992 B.A., History of Art, Tulane University, 1990 APPOINTMENTS Editorial: Brown University Digital Scholarship Editor, Center for Digital Scholarship, June 2017–present Amsterdam University Press Founding General Editor, Visual and Material Culture, 1300–1700, 2016–present Ashgate Publishing Founding General Editor, Visual Culture in Early Modernity, 2007–2016 (now published by Routledge) Academic: Brown University Visiting Scholar in Italian Studies, Jan 2019–present University College London Lecturer, Early Modern Italian Art, 2007–2008 Wheaton College Assistant Professor of Italian Renaissance Art, 2001–2007 PUBLICATIONS Books: House of Secrets: The Many Lives of a Florentine Palazzo [London: I.B. Tauris/Bloomsbury, 2019; Tauris Parke/Bloomsbury, 2020 (paperback). Simplified Chinese edition forthcoming with Beijing United Publishing, Fall 2021]. Re-Membering Masculinity in Early Modern Florence: Widowed Bodies, Mourning and Portraiture [Ashgate, 2006; Routledge, 2016 (paperback)]. Edited Volumes: Playthings in Early Modernity: Party Games, Word Games, Mind Games (Kalamazoo: Medieval Institute Publications/Western Michigan University, March 2017). • Editor and contributing author (Introduction: “Playing the Field,” 1–8) Sex Acts in Early Modern Italy: Practice, Performance, Perversion and Punishment [Ashgate, 2010; Routledge, 2016 (paperback). Italian edition published as Sesso nel Rinascimento: Pratica, Perversione, Punizione (Florence: Casa Editrice Le Lettere, 2009)]. • Editor and contributing author (Introduction: “Strange Bedfellows,” 1–9) Widowhood and Visual Culture in Early Modern Europe [Ashgate, 2003; Routledge, 2016 (paperback)]. • Editor and contributing author (Introduction: “Widow’s Peek: Looking at Ritual and Representation,” 1–15; Ch.
    [Show full text]
  • Economic Freedom and Inequality in the Art Market: the Case of the Commercial Gallery
    arts Article Economic Freedom and Inequality in the Art Market: The Case of the Commercial Gallery Ronit Milano Department of the Arts, Ben-Gurion University of the Negev, Beer-Sheva 8410501, Israel; [email protected] Received: 13 August 2020; Accepted: 4 December 2020; Published: 8 December 2020 Abstract: This article aims to consider the contemporary art market vis-à-vis the concept of economic freedom. Drawn from a larger study, this paper offers a glimpse of the political function of the art market, which is essentially an economic field. What I demonstrate is an inevitable clash between a free market and between political constructions that effect levels of freedom—concentrating on the parameter of inequality. The article focuses on the case of commercial art galleries, and analyzes their operation under neoliberal conditions, which represent the implementation of the idea of freedom in the economic field. Subsequently, I demonstrate the how high levels of concentration in the art market erode the levels of the equality of the players in the field. Ultimately, I argue that this case offers an example of the more general operation of the art market, which follows neoliberal principles, and thereby undermines the concept of economic freedom that is intrinsic to them. Keywords: art market; neoliberalism; freedom; equality; concentration; competition 1. Introduction Before moving to its new home in Manhattan’s Meatpacking District in 2015, the Whitney Museum celebrated its last show in the Breuer building with a high-profile retrospective of works by the American celebrity artist Jeff Koons. This lavish exhibition, which featured artworks worth half-a-billion dollars, received leadership support from Gagosian Gallery, which represents Koons.
    [Show full text]
  • Notice of the 165Th Ordinary General Meeting Of
    (Translation) The following is an English translation of the Notice of the 165th Ordinary General Meeting of Shareholders of NEC Corporation to be held on June 19, 2003, except for the translation of the INSTRUCTION ON VOTING RIGHTS in the Notice. The Company provides this translation for your reference and convenience only and without any warranty as to its accuracy or otherwise. NEC Corporation 7-1, Shiba 5-chome Minato-ku, Tokyo Hajime Sasaki Chairman of the Board May 28, 2003 To Our Shareholders: NOTICE OF THE 165TH ORDINARY GENERAL MEETING OF SHAREHOLDERS The Hundred and Sixty-fifth Ordinary General Meeting of Shareholders (the "Meeting") of NEC Corporation (the "Company") will be held as follows: 1. DATE: June 19, 2003 (Thursday) at 10:00 A.M. Japanese Standard Time 2. PLACE: Auditorium on the basement floor of the head office of NEC Corporation at 7-1, Shiba 5-chome, Minato-ku, Tokyo, Japan 3. AGENDA OF THE MEETING MATTERS TO BE REPORTED UPON: Report on contents of the Business Report, Balance Sheet and Statement of Income with respect to the 165th Business Period from April 1, 2002 to March 31, 2003. MATTERS TO BE VOTED UPON: (1) Approval of the Plan for Disposition of Income with respect to the 165th Business Period (2) Partial Amendments to the Articles of Incorporation (The outline of this proposal is shown in "REFERENCE DOCUMENTS FOR 1 (Translation) EXERCISING VOTING RIGHTS" described below (pp.35 to 38).) (3) Election of Nine Directors (4) Election of Two Corporate Auditors (5) Issue of Stock Acquisition Rights with Favorable Conditions to Persons Other Than the Shareholders for the Purpose of Granting Stock Options (The outline of this proposal is shown in "REFERENCE DOCUMENTS FOR EXERCISING VOTING RIGHTS" described below (pp.44 to 47).) (6) Presentation of Retirement Allowances to Retired Director and Retiring Corporate Auditor 2 (Translation) BUSINESS REPORT (For the Period from April 1, 2002 to March 31, 2003) 1.
    [Show full text]
  • UAAC Conference 2018.Pdf
    Session 1 | Séance 1 : Theuaac-aauc Artery 2018 Conference of the Universities Art Association of Canada Congrès 2018 de l’Association d’art des universités du Canada October 25–28 octobre, 2018 University of Waterloo uaac-aauc.com Congrès UAAC-AAUC Conference October 25-28 octobre 2018 University of Waterloo 1 Welcome As someone who started attending UAAC conferences three decades ago, I can say that no two are alike: continuities exist, but there’s always something new. This year, for example, along with the customary launch of the Fall RACAR–a “Critical Curating” special issue edited by Marie Fraser and Alice Ming Wai Jim–and the perennial opportunity to renew old relationships and start fresh ones, we’ll kick off UAAC’s new website. Also, rather than a keynote lecture, we’ll have keynote performances by Louise Liliefeldt and Lori Blondeau, an exciting outgrowth of performance’s rising importance as a mode of presentation at our conference. Thanks to the conference organizers, Joan Coutu and Bojana Videkanic, for their insight in suggesting this shift, and for the rest of their hard work on this conference. The programming committee– Joan Coutu, Bojana Videkanic and Annie Gérin– also must be recognized for its great work reviewing session proposals. And, as always, huge applause for Fran Pauzé, UAAC’s administrator, who has kept us on track day in and day out for years now. As you know, our conference’s dynamism flows from the continued broadening and revitalization of UAAC’s constituency. However, the difficult state of culture and education today makes participation by students and precariously-employed faculty harder and harder.
    [Show full text]